They generally employ troupes of performers – friends and relatives of the artist – and feature handmade costumes and props.

[16] Her contribution to the 2006 Tate Triennial[17] was The Fall of Man, a puppet-play based on The Book of Genesis, Paradise Lost and The German Ideology.

The filmed performance was summarised by Adrian Searle as, "The young woman who rode to her own death on the dildo see-saw at the Sugar-Tits Doom Club,"[18] and described by Richard Dorment as, "Silly beyond words and teetered at times on the edge of porn – but once you start looking at it I defy you to tear yourself away.

Recent performances include ‘The King Must Die’, Edinburgh Art Festival (2015); ‘Listen Up!’, Studio Voltaire, London (2014); and ‘The Green Room’, Nottingham Contemporary, UK (2014).

Characterised as reworking iconic moments from cultural history, Chetwynd's performances and installations translate and adapt her source materials (whether The Canterbury Tales, Doris Lessing’s novel The Grass is Singing or the character of the Cat Bus from Hayao Miyazaki’s cartoon My Neighbor Totoro) into a distinctive style, marked by improvisation and spontaneity.